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Brenda  A. Flanagan, Hana Waisserová - Women’s Artistic Dissent, Inbunden

Inbunden, Engelska, 2023

Women’s Artistic Dissent

Repelling Totalitarianism in Pre-1989 Czechoslovakia

Av Brenda A. Flanagan, Hana Waisserová

Del i serien Lexington Books

1239 kr

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Beskrivning
To survive Totalitarianism and retain their humanity, Czech women writers went underground to write, paint, sculpt, and create supportive communities. This book explores fiction, poetry, and life-sustaining activities of Eva Švankmajerová, “Mother of Czech Surrealism,” and Eda Kriseová, journalist, fiction writer, essayist, and activist who served in President Václav Havel’s first Cabinet, among other Czech women who wrote and engaged in dissent during the years when Czechoslovakia ached under Soviet rule.Women’s Artistic Dissent: Repelling Totalitarianism in pre-1989 Czechoslovakia highlights and unearths the work of women that is often undervalued and unacknowledged. Flanagan and Waisserová carefully detail the variety of ways in which women resisted through literature and ecological activities, shedding new light on the ways in which individuals and communities can retain their humanity even as they resist and repel dictatorial regimes in their countries.
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Brenda Flanagan is Edward M. Armfield Professor of English and core faculty in Africana Studies at Davidson College. at Davidson College.Hana Waisserová is associate professor of practice of Czech studies at the University of Nebraska-Lincoln.

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Women’s Artistic Dissent: Repelling Totalitarianism in Pre-1989 Czechoslovakia, a tribute to Czech women dissidents, focuses on the writer Eda Kriseová and the Surrealist artist and writer Eva Švankmajerová, who carved, through their art and writing, spaces of freedom, resistance, and empathy, within oppressive Communist Czechoslovakia, but also within the male-dominated dissent. Flanagan and Waisserová are uniquely qualified to write this book: transnational educators and writers, they possess a keen understanding of the interplay between art, political repression, and gender. With respect and admiration for their subjects’ commitment to imagination, authenticity, and environmental sustainability, they let Kriseová and Švankmajerová speak for themselves, through fiction and interviews: as much as about them, they write with them. The book’s insightful portrayals of the two women fill a gap in our understanding of dissent and art in Czechoslovakia.

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